There's something irreplaceable about painting directly from nature. The shifting light, the sounds of the environment, the unpredictable elements—these challenges produce work with an immediacy and vibrancy that studio painting from photographs simply can't replicate. Plein air painting has a rich tradition going back to the Impressionists, and Australia's extraordinary landscapes make it an ideal practice for local artists.
I've painted outdoors across every Australian state and territory, from tropical Queensland beaches to the red heart of the Outback, and the experiences have fundamentally shaped my art. This guide shares what I've learned about making outdoor painting productive, enjoyable, and safe in Australian conditions.
Essential Equipment for Outdoor Painting
Success in plein air begins with the right gear. Unlike studio work where you can accumulate whatever you like, outdoor painting demands ruthless editing—you'll carry everything, often across uneven terrain.
Choosing a Portable Easel
Your easel is the centrepiece of your outdoor kit. The three main options each suit different situations.
French box easels combine easel, storage box, and palette in one unit. They're heavier (typically 5-7 kilograms) but wonderfully self-contained. The storage compartment holds paints, brushes, and mediums, while the lid converts to a palette. These work best when you're driving to your location and don't need to carry gear far.
Pochade boxes are compact units designed to mount on a camera tripod or hold in your lap. Weighing as little as one kilogram, they're ideal for hiking to remote locations. The trade-off is limited canvas size—most accommodate panels up to about 30 centimetres.
Aluminium field easels provide the lightest option for traditional easel painting. They fold compactly and weigh around 1.5-2 kilograms. However, they don't include storage, so you'll need a separate bag for supplies.
Before your first excursion, pack your complete kit and walk around the block. This reveals exactly how heavy your setup feels in practice. Many beginners discover they've brought far too much and return to simplify ruthlessly.
Building Your Portable Palette
Limit your colours for outdoor work. A palette of six to eight colours is sufficient for most subjects and forces you to mix creatively. A typical landscape palette might include titanium white, cadmium yellow, yellow ochre, cadmium red, alizarin crimson, ultramarine blue, cerulean blue, and burnt umber. You can always add specialty colours for specific subjects, but resist the urge to bring your entire studio collection.
Other Essentials
Beyond easel and paints, outdoor painting requires additional gear that studio artists might overlook.
- Painting umbrella or shade tent for sun protection
- Wide-brimmed hat and sunscreen
- Water and snacks
- Wet panel carrier for transporting finished work
- Brush washer with lid (to contain solvent)
- Paper towels or rags
- Viewfinder or phone for composition studies
- Camp stool if you prefer sitting
Dealing with Australian Conditions
Australia presents unique challenges that European or North American plein air painters don't face. Preparation and awareness keep you safe and productive.
Sun and Heat
The Australian sun is fierce, especially between 10am and 4pm during summer. Ultraviolet radiation levels here are among the highest in the world, making sun protection essential rather than optional.
A painting umbrella serves double duty: it shades you and prevents direct sunlight from falling on your canvas and palette. Direct sun makes accurate colour judgement nearly impossible—everything appears washed out and overly bright.
During summer, plan your painting sessions for early morning (sunrise to 10am) or late afternoon (4pm to sunset). The light is more interesting during these hours anyway, and you avoid the dangerous midday heat. Bring more water than you think you need.
Wind
Wind is the plein air painter's nemesis. Your easel becomes a sail, your canvas wants to fly away, and fine brushwork becomes impossible. Light aluminium easels are particularly vulnerable.
Weighted bags or sandbags hanging from your easel's centre point add stability. Some artists stake their tripod legs. Position yourself to use natural windbreaks—rocks, vehicles, buildings—when possible. In truly windy conditions, consider switching to a pochade box held in your lap, where your body shields the painting.
Australian Wildlife
Our unique wildlife adds character to outdoor painting but requires awareness. Insects can be relentless—bring repellent for mosquitoes and flies. In warmer months, check your surroundings for snakes before setting up, and be aware of where you're walking.
Curious birds, particularly magpies during swooping season, can be deterred by cable ties or zip ties attached to your hat. In areas with kangaroos or wallabies, secure your supplies—they're surprisingly bold about investigating food.
Finding Great Locations
Australia offers infinite painting opportunities, from coastal scenes to bushland, urban streetscapes to Outback vistas. Finding locations requires both exploration and practical thinking.
Scouting Locations
Before committing to a full painting session, scout potential locations. Visit at the time of day you plan to paint to see the actual light conditions. Consider access, parking, facilities, and whether you can set up without obstructing others.
Google Maps satellite view and photography from social media can help identify promising spots before you drive there. However, nothing replaces visiting in person—photos can deceive about distances, vegetation, and accessibility.
Urban vs. Wild Locations
Urban painting offers conveniences: nearby cafes, restrooms, shade from buildings, and relatively flat ground. You'll also attract more attention from passers-by—some artists find this energising, others distracting.
Wild locations require more self-sufficiency but reward you with solitude and pristine subjects. Always tell someone where you're going and when you expect to return. Carry a charged phone and check reception before you travel too far from help.
Practical Painting Strategies
Outdoor painting demands efficiency. Conditions change, time is limited, and you can't always return to finish a piece. These strategies help you work effectively.
Work Small and Fast
Most successful plein air paintings are smaller studies rather than large finished works. A 20 x 25 centimetre panel can capture the essence of a scene in one to two hours. This approach fits the realities of changing light and limited stamina.
Set a time limit for yourself. Knowing you have ninety minutes forces decisive brushwork and prevents overworking. Many plein air painters use timers.
Establish Values First
In bright outdoor conditions, colour is deceptive. Establish your value structure—the pattern of lights and darks—early, before refining colours. Squinting helps you see past the colour to underlying values.
Some artists create quick value sketches before painting, mapping where the lightest lights and darkest darks fall. This roadmap guides the painting even as specific conditions change.
Accept the Conditions
Don't fight the weather—work with it. Cloud shadows, wind-bent trees, and shifting light are part of the outdoor experience. Trying to freeze a moment that's already passed leads to frustration. Paint what you see now, not what you saw five minutes ago.
The French Impressionists understood this: their quick, confident brushwork captured the feeling of a moment rather than attempting photographic precision. Embrace that tradition.
Plein air painting challenges you in ways studio work cannot. The discomfort and unpredictability are part of what makes it valuable. With proper preparation and realistic expectations, outdoor painting becomes not just productive but joyful—a practice that deepens your connection to the Australian landscape.